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Negotiation of the Haiduc in Ceaușescu's Romania

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Negotiation of the Haiduc in Ceaușescu's Romania Honor among Thieves: Negotiation of the Haiduc in Ceaușescu’s Romania (1968-1982) THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Justin Thomas Ciucevich, B.A. Graduate Program in Slavic and East European Studies The Ohio State University 2017 Thesis Committee: Theodora Dragostinova, Advisor David Hoffmann Adela Lechintan-Siefer Copyrighted by Justin Thomas Ciucevich 2017 Abstract In Nicolae Ceaușescu’s Romania, the haiduc enjoyed an elevated status in the national pantheon alongside the greatest rulers and revolutionaries of the past – celebrated through film, songs, literature, and architecture. Romania’s producers of culture (particularly privileged intellectuals working within the highly-centralized state) used the haiduc figure as an embodiment of the ideals espoused by the regime – a protector of national identity; a guarantor of social justice and economic equality; defender against foreign oppression; an embodiment of paternity, masculinity, fraternity, and morality; and a champion of righteous revolutionary principles. However, the haiduc also served a practical purpose for the regime. The narratives of the two most renowned haiduc figures – Baba Novac (1530-1601) and Iancu Jianu (1787-1842) – were used, especially, to vilify ethnic minorities and the large peasant population in Romania. This thesis focuses on how these two figures were used most malleably in order to maximize public displays of national chauvinism via flamboyant glorifications and representations. ii Vita 2004............................................................... Hoover High School, Hoover, AL 2011................................................................Jefferson State Community College 2014................................................................University of Alabama at Birmingham 2016................................................................Foreign Language and Area Studies Fellowship, Romanian, The Ohio State University Publications Ciucevich, Justin. "Sojourns Into the Past: The Methodological Benefits of Tourism in the Study of Cultural History," The Vulcan Historical Review, vol. 18 (2014): 173-177. Fields of Study Major Field: Slavic and East European Studies iii Table of Contents Abstract ............................................................................................................................... ii Vita ..................................................................................................................................... iii List of Figures .................................................................................................................... vi Introduction ......................................................................................................................... 1 Chapter 1: Theory: National Ideology under Communism ................................................ 5 Chapter 2: Romanian Nationalism, National Ideology and Identity ................................. 13 Chapter 3: The Haiduc in the Balkan Revolutionary Tradition ........................................ 17 Chapter 4: The Haiduc, Cultural Production and National Communism in Romania...... 23 Chapter 5: The Haiduc in Ceaușescu’s Romania: Two Case Studies ............................... 29 Baba Novac: Biography ................................................................................................ 30 The Official Historiography of Baba Novac ................................................................. 31 Iancu Jianu: Biography.................................................................................................. 35 The Official Iancu Jianu in Children’s Literature ......................................................... 37 The Official Iancu Jianu in Film ................................................................................... 41 Chapter 6: The Haiduc in Romanian Etno-Rock ............................................................... 47 iv Conclusion ........................................................................................................................ 53 Bibliography ..................................................................................................................... 55 Appendix A: Images of Haiduci ....................................................................................... 58 v List of Figures Figure 1. Baba Novac ....................................................................................................... 59 Figure 2. Jianu kills Vârlan ............................................................................................... 60 Figure 3. Still from music video: Phoenix-Andrii Popa (circa 1974) ............................... 61 vi Introduction The ideology of Nicolae Ceaușescu has been a topic of ample analysis since his inception as the General Secretary of the Romanian Communist Party (RCP) in 1965. Over the course of his twenty-four years in power (1965-1989), Ceaușescu’s image changed (domestically and abroad) from that of a liberalizer and Romanian patriot to a tyrant worthy of execution by his own military for “genocide against the Romanian people.” Abroad, the Romanian leader’s image challenged paradigms of isolationist dictatorships behind the Iron Curtain, due to his self-presentation as a comparably liberal statesman committed to diplomacy with Western governments. Inside Romania, though, Ceaușescu’s public spectacles exalting Romanian national pride concealed his increasingly repressive domestic policies – particularly after 1971. It was the exaltation of national pride within a communist state, perceived by many to be ideological antitheses, and, later, the internal repression revealed by more and more Romanian emigres, which made Ceaușescu the subject of both academic scrutiny and polemical discourse. The glorification of national heroes and history under Ceaușescu reached heights scarcely matched by any other head of state in Eastern Europe during the Cold War. While heroic personas, defined by their unique, individual successes, stood at the 1 forefront of the national pantheon, the figure of the haiduc emerged alongside the most revered of heroes. The haiduc is not unlike the Robin Hood figure of Western literature: a righteous outlaw who steals from the corrupt rich and gives to the abused peasantry. A key divergence between the Robin Hood figure and the haiduc, though, is the overwhelming emphasis placed on the haiduc and peasantry as Romanian, while the rich are always foreign or in collusion with non-Romanian authorities. Throughout Ceaușescu’s administration, different manifestations of the haiduc image dominated Romanian historical cinema, with no less than twelve different films being made about them, which, in turn, solidified the careers of some of Romania’s most celebrated actors and directors, such as Amza Pellea, Florin Piersic, Adrian Pintea, and Dinu Cocea. The most popular protagonist of these film representations, Iancu Jianu – the archetypal, early nineteenth century haiduc who rejected his noble origins to combat the abuses of the exploitative, foreign authorities – was also commonly featured as an educational figure in children’s books. A large statue was erected in 1975 in the historical Transylvanian capital, Cluj-Napoca, exalting Baba Novac – the late sixteenth century Serbian-Romanian haiduc who became immortalized for his role as the most devoted and fearsome captain in the army of Michael the Brave – alongside other revered heroes of Romanian history, such as Matei Corvin and Avram Iancu. Likewise, a semi-fictional haiduc, Andrii Popa – valorized in the poetry of nineteenth-century Romantic, Vasile Alecsandri – was resurrected by “etno-rock” pioneers, Phoenix, on their iconic 1974 album, Mugur de Fluier (Flute Bud), as a concession to Ceaușescu’s directive of making authentic Romanian music. 2 This thesis addresses how the haiduc was presented as a symbol of national identity in Ceaușescu’s Romania. My argument is that the image of the haiduc was a more malleable one than those of other national heroes in several ways. Despite the return to the nation as the focal point of political discourse, the haiduc was negotiated by Romania’s producers of culture to combat the subversive elements of interwar historiography. I have chosen to focus on these two haiduci (Romanian plural form) – Baba Novac (1530-1601) and Iancu Jianu (1787-1842) – because the way in which their respective histories were revised made them the most widely visible in Romania. The narrative of Iancu Jianu was reinterpreted to marginalize the role of peasant life in Romanian culture, as an impediment to progress (i.e. to rapid industrialization). Likewise, Baba Novac was reinterpreted in official historiography as a mechanism of Romanian chauvinism specifically to vilify the Hungarian minority of Transylvania. By examining the modes through which these two figures were reinterpreted, I argue that the malleability of the haiduc was uniquely beneficial in shaping Romanian national identity in a manner favorable to the Ceaușescu regime. In Chapter 1 of this thesis I will foreground the relationship between nationalism and communism outside of Romania. This chapter serves two functions: to problematize the misconception that these ideologies are (or ever were) antithetical – in form or foundation – and to suggest, rather, that they informed and altered the position of one another. Chapter
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